Casual Modern Dining Space (All Images Courtesy of Modsy)
A few weeks into Manhattan’s Covid lockdown it became clear that I would be working from home for the long haul, so I created a small budget to upgrade my home office with a few new items. A new task chair, a small colorful rug, and a set of strategically-measured storage cubes helped to create a pleasant and comfortable workplace within my apartment, while optimizing the functionality in the 50-square foot room. Now that our homes are often serving as offices, and even classrooms, you might also be looking for design ideas for the way we live right now. With that in mind, Modsy, an online interior design platform, has just released its 2021 Trend Report, which is brimming with quarantine-inspired interior design trends, emerging style predictions for next year, product sales comparison insights, and survey data from thousands of people across the U.S.
Livingroom: Elegance Meets Modern Design
Let’s get inspired with a closer look at some of their findings!
Post Continues, With More Design Ideas, After The Jump!
A member of a wealthy banking family and sophisticated patron of the arts, Thomas Hope (1739 – 1861) set out to influence and improve contemporary taste through the publication of his own collection in Household Furniture and Interior Decoration (1807).
Following interest in ancient Rome and Greece, attention turned to Egypt as a major source of inspiration for furniture and interior design. This ‘Egyptian” bench shows influence of Hope’s archeological taste and may have been part of the furnishings of his country house The Deepdene, Dorking, Surrey (outside London). It was possibly sold in the Christie’s sale of the Hope heirlooms held at Deepdene over six consecutive days in September of 1917. Lot 1044, sold on September 17th, consisted of: “a carved 4ft. 4in. gilt Egyptian pattern settee with scroll ends, on claw feet, and squab seat upholstered in gold satin damask.”
While several surviving pieces of furniture can be attached to the detailed line drawings, Hope never remarked on the fabrics to be used. The present wool covers are based on fiber fragments from this bench and on original textile remains from a settee also designed by Hope, which is now at the Cleveland Museum of Art.
Photographed in the Metropolitan Museum of Art in NYC.
LA-based designer Alex Brokamp is inspired by the Maya Angelou quote “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” When designing new pieces, his goal is to instill a meaningful connection between object and consumer that searches for a balance between physical and emotional attraction to an object.
Installation View at ICFF 2019
Brokamp’s commitment to combining technology, spatial awareness, and innovation has been a common theme throughout his work. The Collate Table Collection is no exception. The coffee and side tables in this collection are made using cutting-edge fabrication techniques and are inspired by process art; so the pieces celebrate the manner in which something is made being equally important as the outcome.
The Collate Tables are crafted from aluminum plates that have patterns cut into them using CNC (computer numerical control) toolpaths. The cellular shape of the tabletop allows thetoolpaths to create a playful pattern on the surface. This millwork not only gives insights into the high-tech fabrication process, but also creates an interesting dialogue and engaging experience for anyone looking at and walking around them.
The table treats the aluminum plate as the canvas and the toolpaths act as the brushstrokes. The finish on these aluminum tables can be anodized in several different color options as well.
Photographed in May 2019 at the ICFF at Javits Center, NYC.
Eileen Gray (1879 – 1976) wrote that “Art is not just the expression of abstract relationships. It must also encapsulate the most tangible relations, the most intimate needs of subjective life.
Consistent with these aims, this freestanding Lacquered Wood Screen (1922) which functions both as a movable wall to divide a space, and as an abstract modern sculpture composed of solids and voids. Working in Paris after World War I, Gray popularized and perfected the meticulous art of lacquered furnishings, which struck a chord with the contemporary taste for exotic materials, especially those used in Japanese decorative arts.
It was at the 2019 Salon Art + Design that we spotted this very rare and early first edition of the Flora / Model 852 Cabinet (1937) created by Austrian architect and designer Josef Frank (1885 – 1967). The cabinet was part of a prolific collaboration with Estrid Ericson, of the Swedish interiors brand Svenskt Tenn, which produced and retailed the piece. This piece was manufactured in 1950.
Cabinet Measures: 55¼ in. (140.3 cm.) High, 45 3/8 in. (115.3 cm.) Wide, 17 in. (43.2 cm.) Deep
This collaboration featured Frank’s highly developed personal style which focused on elements of Viennese elegance and Swedish functionalism. He wanted to incorporate natural forms and colors into his interiors, so that the inhabitants could breathe freely in the enclosed spaces. He believed that “ornament and complexity create peacefulness and get rid of the disturbing aspect of pure functional form.” A perfect example of this ideology is the Flora cabinet.
For the cabinet’s exterior, Frank (who also designed textiles) used hand-colored botanical prints from Carl Lindman’s book, Bilder ur Nordens Flora, which he then delicately applied onto the mahogany front and sides of the piece. Oak was also used in the manufacturing process, and the birch interior is fitted with four adjustable shelves. The contrast between the delicate floral motifs and heavy wooden form instills the cabinet with a light, playful and organic sense. Contrasting materials evoke an echo of the past, but create an indisputably modern piece.
My press comp to 2019’s Salon Art + Design included a much-appreciated perk of access to the Collectors Lounge, which featured a strikingly curated collection of unique art furniture from UK-based Sollands Gallery. Located in Mayfair, an affluent area in the West End of London, Sollands boasts elegant, contemporary pieces bearing the signature style of designer Grazyna (Gra) Solland. Gra, as she is called, is known for her strong sculptural statements, bold use of colors, and highly innovative and individual designs using high-end, luxurious materials. Working with both traditional and contemporary methods, together with a keen attention to detail and exacting quality, are hallmarks of Gra’s exquisite creations.
My favorite piece in the lounge was the vibrant, red lacquered Circ Coffee Table (2017). Having spent many years working on her STACK pieces, Gra decided she would like to further develop the theme, but in a much bolder manner. To create Circ, she regulated the wedge shapes and worked with circular shapes in a singular color.
Photographed in the Sollands Collectors Lounge at the 2019 Salon Art + Design in NYC.
With the cancellation of all of this year’s many annual art and design shows, it’s been challenging to continually source beautiful things to feature in this weekly column. Fortunately, the design stores appear to have reopened, as I discovered quite by accident when I walked past Caligaris and was sucked in off the street after catching a glimpse of this beauty in the window.
Meet the Coco Lounge Chair, upholstered in a stunning Jubilee Pink velvet rose print; the product of a collaboration between Calligaris and Italian fashion brand Blumarine, by designer Anna Molinari. The Rose is one of Molinari’s most popular motifs. This version of the Coco chair was launched during 2019 Design Week.
In addition to the red-on-pink, and pink-on-pink rose print, the chair is also available upholstered with black roses on a grey background, with the tubular frame available in a variety of metallic finishes, to suit your taste and decor. This chair has a retail price point of $1,563. You can see more photos of all textile designs and finishes Here.
Calligaris is Located at 220 East 57th Street in New York City.
The Bench I I a (2017) by designer Max Lamb is one of the first prototypes made from solid textile board, a material composed of waste cotton. Lamb created this piece for Really, a Danish company that focuses on upcycling discarded textile waste.
Really mills used textiles into small fibers that are then bonded together with a special agent. The dark blue color of this bench comes from the cotton material, which is discarded denim. The bench is at once a functional object and a conversation starter regarding the reuse of waste materials. The museum installation includes a video (iPad screen seen above) in which Lamb discusses the making of the Really collection of furniture.
In 1927, Paul Frankl wrote, “In my own creations for the modern American home, I have kept within the architectural spirit of our time,” citing the New York City skyline as his most powerful design source. Indeed, the architecture of Manhattan is reflected in every detail of Frankl’s Skyscraper Cabinet, including its simplicity, continuity of line, flat surfaces, sharp and clean moldings, quality of restraint, and overall feeling of power. Not even 18-inches deep, Frankl’s cabinet was designed to conserve space in small city apartments. See other examples of Paul Frankl’s Skyscraper-influenced designs Here and Here.
Ettore Sottsass’ late furniture for Gallery Mourmans liberated the artist from the ordinary constraints of the market and quantity. The collaboration gave him license to pursue the vast poetic and sculptural potential of perhaps his favorite of all design archetypes, the Cabinet.
As with Cabinet No. 56 (2003) these pieces read as prototypes, concepts and sculpture. Each cabinet in this series is a study in materials, structure, form, color, and visual and sculptural effects — homages to his friends and design masters.
Photographed in The Met Breuer in NYC as part of the 2017 – 2018 Exhibit, Ettore Sottsass: Design Radical.